"I laughed so hard, I almost puked." - L

Thursday, 5 March 2009

Baggy Trousers

It's amazing how an artexed ceiling can get you thinking about your life.

Waiting for L to come to bed last night - don't worry, it's not that kind of blog - one of the swirls above my head reminded me of my A-Level Welsh Oral examiner. I only met the man once, over a decade ago, but the memories soon came flooding back. During the exam, as I sat there chatting away to him, I couldn't help but notice that his flies were undone. Desperately trying to think of a way to let him know in Welsh - my two female classmates were next up, after all - I accidentally stumbled over a basic sentence about the weather. If it wasn't for his bloody trousers, I'm certain I would have achieved that A grade.

Well, once I start thinking about old times, there's no stopping me. Soon I was having vivid memories of my Stanwell school days. It was as if Paul McKenna had entered the room and regressed me. Which is much better than if he had entered the room and undressed me. Some people pay hundreds of pounds for a session like that. Regression, I mean, not undressing. That probably costs more. It depends on the kind of mood Mr. McKenna's in, I suppose.



Anyway, it made me realise that I always intended to get those stories written down and, seeing as I've spilled the beans on nearly ever other aspect of my life, now is as good a time as any to get my school days out in the open.

It's a long story, you may want to prepare a flask of tea and have a family bag of Revels on standby, but hopefully it's one worth hearing.

Let's start with Mrs. H, my favourite teacher. Generally she was a quiet mild-mannered woman, but if you got on her wrong side she'd let you know about it. I only managed it once - and it took six years to do so - and even when she did scream at me, she immediately apologised by tilting her head to one side and saying "oh, G, how could I be annoyed with you?"

I'm that kind of person, you see.

Anyway, Mrs. H was my Welsh teacher from the start of Year Seven until the end of my A-Levels. She was also my Head of Year for most of my time at school. It was in this role that she enjoyed her greatest moment.

I don't know about your old school, but my afternoon assemblies were generally pretty moribund. The usual daily announcements, a bit of singing and - if we were really lucky - a visit from one of those youth theatre groups, a community police officer or PH, the evangelist/artist who spread the word of God with a packet of brush-tipped felt pens and an A3 sketch-pad balanced precariously between two stools.

One particular afternoon, our Headmaster was on a training course and the diabetic R.E. teacher had run off to the canteen for an emergency jam doughnut. With nobody else on hand, Mrs. H was roped in at the last minute to get the job done. She wasn't going to miss out on her chance to shine and gave the performance of a lifetime.

Picture the scene: It's Thursday afternoon, the day before Comic Relief 1993 (the year of the tomato, I believe) and two-hundred teenagers are sat impatiently on a hard wooden floor. Suddenly, Mrs. H comes running down the aisle brandishing a ghetto blaster, a cardboard box and a cassette copy of Michael Jackson's Dangerous album.

"I won't be a minute," she assured us.



She was a bit longer than that, but teachers and school electrical equipment never mix well. Soon enough, she had placed the box down, put the tape in, pressed Play and then returned back up the aisle and out of the assembly hall.

For a few seconds we all sat in confused silence. Then the opening bars of Heal The World began and Mrs. H re-entered the hall, slowly this time, and walked solemnly down to the front. I've never been sure if she misjudged the short distance, or if it was all part of the plan, but for the remaining six minutes of the song she stood silently in front of us, slowly nodding her head in time to the music and sometimes mouthing along to the particularly thought-provoking lyrics.

As the song faded, Mrs. H paused for thought. The moment was tarnished slightly when she forgot to press Stop and Black Or White began to play. She dealt with it professionally though, by tilting her head to one side and saying "oooh, what am I like?!"

Then it was back down to the serious business.

"That was a song by Mr. Michael Jackson, a man who loves Africa," she explained. "If Mr. Jackson was here with you today," she continued, "he would tell you about all the ways in which you can love Africa."

There was a bit of sniggering from the audience, but most of us sat there in the hope that this was all going somewhere.

"Unfortunately, Mr. Jackson is not here with us today..."

Somebody at the back shouted "BOOO!" loudly.

"...yes, yes, it's a shame I know...but the point is, although Mr. Jackson is not here with us today, I am here to paraphrase the things that I am sure he would say."

This was going to be interesting.

"If you were listening carefully to the lyrics of that beautiful song, you will have realised that there are many things, big or small, that we can do to help Africa. Can anybody give me an example?"

No volunteers were forthcoming. Mrs. H offered to play the song again, but one of the other teachers at the back of the hall started tapping their watch furiously.

"Nobody? Well let me show you this..."

At this point, she reached for the box beside her. As she picked it up, a toothbrush and a trial-size tin of Lynx Oriental body spray fell out.

"Oh dear," she cried, tilting her head to one side and desperately trying to stop anything else from spilling out as the deodorant noisily rolled up the aisle.

"In this box, I have many examples of the things that we could send to Africa. Just think, if each of us made up a similar box we could all, as Mr. Jackson so eloquently pointed out, 'heal the world'."

Mrs. H then began talking us through each item: the toothbrush and body spray, a reporter's notebook, a pack of twelve Crayola crayons, a five-piece geometry set, three pairs of socks, a copy of Fast Forward magazine, a Whoopee cushion and a tin of Tesco peaches. It was like the conveyor belt on The Generation Game.

By now, some pupils were turning purple in their attempts to stop themselves laughing. Tears were rolling down some faces and the sound of gasping could be heard from others. But Mrs. H had saved the best for last. Reaching into the box, she triumphantly held up the final item.

"Something that we all take for granted - a sponge!"



The hall erupted in laughter. Mrs. H stared back, confused. To be honest, anything would have made us laugh at that point, but the fact that she had also pronounced it "spon-ge" instead of the usual "spun-ge" was enough to send a couple of hundred teenagers into hysterics.

"Yes, well I hope I've made my point," she said quietly, still confused.

A few people began a slow hand clap. Then a few more, and a few more again. Soon, wild applause filled the room. Some of the more rowdy pupils began whistling and chanting "Mrs. H! Mrs. H! Mrs. H!"

Suddenly, a huge smile lit up her face.

"Oh thank you, thank you so much, diolch yn fawr iawn, in fact!"

She then turned to the ghetto blaster, pressed Rewind and Play at the same time and filled the hall with the ear-piercing screech of cassette tape. She then pressed Play and walked triumphantly out of the hall, accompanied once again by Heal The World. The next day, we were informed that our entire year group had been given an hour's detention for the disrespect shown to Mrs. H. But we didn't care, we were honoured to have been present at the world's best, and most confusing, school assembly.

Mrs. H wasn't the only memorable member of the Welsh department though. Her place in school legend was secured with the infamous assembly and, later, the time when her husband appeared in the Public Opinion section of the South Wales Echo saying that he liked nothing more than "a good hump" (he was discussing speeding restrictions in Cardiff), but she did have an equally memorable colleague.

Mrs. S had originally arrived at the school as a supply teacher. She made her mark on day one.

"'Scuse me, miss!" shouted LP, "I ain't got no pen!"

"What did you say?" screached Mrs. S, like a cross between Eric Cartman from South Park and Skeletor from He-Man.

"I said I ain't got no pen!"

"Damn it, say it properly girl!"

"I. Ain't. Got. No. Pen. Miss" replied LP, sarcastically.

"That's it!" screamed Mrs. S. "I ain't got no pen, I ain't got no book, I ain't got no bag. Well I ain't got no patience with you! Now, GET OUT OF MY CLASSROOM!"

Nobody ever crossed her again.



In 1996, I did my compulsory work experience at school. It's not that I wanted to be a teacher, just that my first two choices were unavailable. The Raymond Revue Bar was deemed unacceptable for a sixteen year old, and Red Dragon FM had already filled their quota of teenage tea-makers. I admitted defeat and stayed at the school. I was placed in the Welsh department under Mrs. S' supervision. On the first day I was so scared, but she turned out to be absolutely lovely and even tried to give me the old black & white television from the staff room as a gift. I politely declined the offer, although I did take the opportunity to catch up on Shortland Street one afternoon. The reception was terrible, but at least I got my fix of New Zealand-based drama.

Years later, long after I had left school, I was on my way to the Glastonbury Festival and bumped into Mrs. S at Cardiff Central station. She was rushing in the opposite direction to catch a different train, but she did briefly say a surprised "hello." In fact, as she hurried off, I'm sure I heard her say "I ain't got no time", but I can't be sure of that...

Imagine if you will, or indeed if you can, a cross between Cassandra from Only Fools And Horses and Fred Elliot from Coronation Street. If you can manage that, you've got a pretty good picture of Mrs. D, my first form tutor and also my French and English teacher. So proud of her Northern heritage, she even spoke French with a Lancashire accent. Her most used expression was "Ou est La Rochelle? I say, Ou est La Rochelle?"



Mrs. D was a great English teacher and really brought books and poetry to life. She was obsessed with the author Danny Abse. I wouldn't say she was an Abse stalker, but she did manage to get him to come to the school to give a chat about his work. At the end of the Question & Answer session - I think I asked him something about his family's law practice, for some reason - Mrs. D took him to one side and said, "here y'are Danny lad, 'ave a drink on me!"

In Year Nine, we were studying a book called Across The Barricades about the troubles in Northern Ireland. Originally, Mrs. D had asked the Irish school librarian, Mrs. LO, to say a few words. Unfortunately, she had an accent more irritating than Nadine from Girls Aloud and was more interested in asking for "silence in the library", or for us to "sit down in the library", or indeed, anything to do with being "in the library."

However, as luck would have it, Mrs. D's husband was from Belfast, so she arranged for him to come in and give a first-hand perspective on the stories in the book. He was a real man's man, a cross between the sailor from the TinTin cartoons and Jim McDonald from Coronation Street. Strange then, that when he arrived at the school gates, she sent one of the boys from the class to meet him with a bouquet of flowers.

Once he got settled into his seat, he began telling a story about his younger years.

"I was sat in the pub, when I heard a huge explosion. I thought a massive fuck-you bomb had come through the window..."

"Patrick!" shouted Mrs. D. "I told you not to use language like that in front of the children!"

"I'm sorry," he replied meekly. "I just got carried away."

It was never quite the same after that, and we were left in no doubt about who wore the trousers in that house.

Mrs. D wasn't the only Northerner at the school. There was Mr. J the woodwork teacher, who looked like one of the Chuckle Brothers. He also had an assistant called Mr. R who looked like Geoff from Byker Grove and was apparently a roadie for The Who in the seventies. However, the cream of the Northern crop was Mr. B, one of the deputy heads.

I didn't have much to do with Mr. B until I reached Sixth Form. In 1997, HTV Wales came to the school to do an unfairly damning report. It caused a huge local fuss, mainly because Mr. B had a bit of a Cook Report moment during the programme and held up a huge piece of white board to hide his face, all the time shouting "who are ya? who are ya?" over and over again.



After the programme was aired, because of my interest in Journalism, I was approached by Mr. B and the Media Studies teacher, to make my own documentary in response to ITV.

Even if I do say so myself, it was a bloody good piece of amateur production. I hired PD as a camera man and we went around the school interviewing teachers and pupils. We called it Dead End Street, inspired by the Kinks song, and it ended with a shot of me outside the school gates saying "dead end street? I don't think so!", just like that bit in The Jam's Smithers-Jones or Macauley Culkin in Home Alone 2: Lost In New York. It never made it to television, but I did earn myself some fans. Most notably, a few girls from a couple of years below who insisted on following me home and trying to force themselves into my house. My mother was having none of it, and I finally realised how Rick Astley must have felt after he released Ain't Too Proud To Beg.

I thought that would be the end of my dealings with Mr. B, but I had one more encounter with him on the night of my eighteenth birthday. A group of us went to the Cefn Mably pub when I finished work at Redlands News - I needed to drown my sorrows after the whole "Cool At 18" debacle. Anyway, it was all high spirited and we got chatting to a local man called J who was originally from South Africa. He looked like Lou Carpenter from Neighbours, but sounded like Du Plessis from Wild At Heart. During the course of the conversation, we told him that we were from the local school.



"Oh man," he shouted. "I've been trying to get my son in that school for years."

With perfect timing, a bunch of teachers from our school came into the pub. They had been playing football and were planning on a quiet drink. Unfortunately, one of my friends muttered something along the lines of "oh no, it's Mr. B."

J didn't miss a trick.

"Hey man, you know these guys?" he asked.

"Yes," said I, "they're our teachers."

Without a moment's hesitation, he marched over to their table.

"Hey guys, my name is J and I have a son. I'd like him to go to your school."

One of the teachers tried to explain that this was not the place to talk about it. J was undeterred and continued to do his best to win their attention. After many awkward minutes, he stood up and started hammering on their table. "I always tell my son about the importance of getting your fucking piece of paper. You guys are going to stop him getting his FUCKING PIECE OF PAPER!"

We decided it was probably a good time to leave. That wasn't the end of it though. Next morning, we were summoned to Mr. B's office and, although he took it all quite well, we were told that it might be a good idea to choose a different pub in future, and to not mix with unpredictable South African men. It's a piece of advice that I've kept on board ever since.

Picture a man with the build of Herman Munster and a frown line on his forehead like Mr. Worry from the Mr. Men. I'd like to introduce to you Mr. P, the Biology teacher. He only taught me for the final six weeks of GCSE Science, but he more than made his impression.

Many teachers use a variety of different methods to keep classes under control. I'm no expert, but I think that a catchy little phrase would surely have to be up there as one of the more practical, and indeed friendly, ways to exert your authority. Mr. P certainly thought so. His three word catchphrase was dropped in casually at first, but as classes became more and more rowdy towards exam time, he had no option but to crack it out at least once a day: "Cut the sillies!"

Hearing that phrase today takes me right back to Mr. P's classroom. For some reason, a lesson on igneous rocks springs to mind, or "Ig-neee-ous" as Mr. P had a habit of saying. AM was being a bit of a disruptive git that morning, even more so than usual. Mr. P walked over to his desk and quietly asked him to desist. AM just looked at Mr. P and squeezed his forehead with two fingers, so as to create a fake frown line. It was really quite effective.



"Now, my boy!" said Mr.P, sternly. He liked calling people "my boy", even if they were girls.

"I like a challenge, and you my boy, are a challenge. Now CUT THE SILLIES!"

It would have been hard to take anybody else seriously, but Mr. P showed that he was a force to be reckoned with that day.

The female equivalent of Mr. P was, coincidentally, Ms. P. She was a tall, slim, stern-looking woman who was a deputy head for most of the week, but did a bit of JP-ing, for want of a better explanation, down at the local magistrate's court on a Friday. Needless to say, she scared me to death.

The first time we met, I made the schoolboy error of calling her "Miss P."

"Go out of the door and come back in, boy!" she boomed. "It's MIZZ, not MISS!"

I never made that mistake again.

At one point, there was a rumour going around that Ms. P had walked in on Mr. H (the non-diabetic R.E. teacher)...how can I put this?...pleasuring himself. Apparently, she took one look at him and shouted, "put it AWAY, Mr. H! PUT. IT. AWAY!"

To this day, I'm not entirely sure how I summoned the courage, but during a school trip to Granada Studios, I asked her if it was true. What can I say? She seemed to soften towards me when I showed off my expert knowledge of the residents of Coronation Street, and I saw an opportunity that couldn't be missed.

"A lady never comments, boy! Never!"

If this was The Bill and I was Sergeant Smithy (and let's just say that L would like that very much), I'd be taking her "no comment" as an admission of guilt. On the day in question though, I took no further action. Mainly because I was distracted by a Reg Holdsworth T-shirt and an ornamental version of Alf's Corner Shop.



Now, this may come as a surprise to you, but I'm no sportsman. Unfortunately, taking P.E. was insisted upon, so I had the pleasure of weekly contact with Mr. S, the games teacher.

A short man, he made up for his lack of height with some lightning speed. There's a scene at the end of The Blues Brothers when the army and a SWAT team are storming the Richard J. Daley Plaza and all you can hear is the sound of them chanting: "Hut, Hut, Hut." Mr S. was a bit like that. Sometimes, if I was in a particularly boring Physics lesson, I would gaze out of the classroom window and watch the action out on the sports field. Mr. S would be there, whizzing around the pitch as fast as his little legs would carry him, almost always wearing a tiny pair of khaki shorts and a T-shirt emblazoned with the slogan "BASKETBALL IS LIFE, THE REST IS JUST DETAILS."



Usually, he'd be shouting out random surnames in that chummy way that only P.E and Drama teachers can get away with: "Pass the ball, Woody!" or "Play it long, Gouldy!" or "For God's sake Lewis, you pecker-head, you're going the wrong way!" One day, as I watched all this going on, a sound came into my head. A cross between the clickety-clack rhythm of an old King George V steam train and the musical skills of Scatman John. Something along the lines of "skiddly bip, skiddly bip, skiddly bip." It was perfect, like Benny Hill on acid. From that moment on, it became Mr. S' personal soundtrack. In my head, at least.

I put up with games lessons for a couple of years, but by the time I was fourteen I'd had enough. Unfortunately, Mr. S was no pushover. I couldn't just go up to him and say, "sir, I've forgotten my kit" because he'd just turn around and say "I don't bloody care, you can play in your pants" or "no problem, you'll be on the skins team this week" (and when you're a chubby young thing, you really don't want to be on the skins team).

There was no way he could make me participate if I had a note though, so every Sunday evening I would go through the medical dictionary that my mother got free with the Today newspaper and choose a random, temporary ailment that could be used as a handy excuse on Monday morning. Of course, it would also have to miraculously clear up by the same afternoon. I'd then get my mother in a good mood - usually just after the big tearful reunion between a woman and her Australian half-brother on Surprise Surprise - and she'd do the honours with her signature.

Toothache, a sprained ankle, pneumonia - I had it all. I think I even got away with period pain once. Mr. S must have known what I was up to - he was probably taking bets on next week's illness in the staff room - but sure enough, he had no choice in the matter and I was permitted to stay in my uniform, carry the balls out on to the field and stand on the touchline, where I usually entertained myself by doing really over-the-top commentaries about the on-field action. Much to his annoyance.



However, Mr. S' finest moment was off the sports field. Three years into my stretch at school, they decided that two high-rise towers and a few dozen Portakabins were not the most inspiring environments for learning. Their solution was to demolish the whole school and start again from scratch. Obviously, this was a big job. So, while they erected the fancy new buildings, we were forced into temporary on-site accomodation.

During this time, our assemblies were held in a youth centre situated on school-owned land. Singing At The Name Of Jesus while the Street Fighter II machines flashed away in the background was quite an experience. Mrs. C had to pump that piano peddle for all she was worth, just to make herself heard over the sound of Ken and Ryu beating each other up. They were characters in the game, I hasten to add, not boys in my year.

Anyway, as winter approached and the sports field became muddier, pupils were starting to make dirty footprints all over the youth centre floor. Soon, the manager began to complain. Usually in cases such as this, a senior member of staff would be called upon to lecture us on the importance of respecting other people's property. It says a lot about Mr. S' standing in the school community that he - a humble P.E. teacher - was chosen to give the speech. To be fair, he did dabble in a bit of Geography teaching whenever one of the department was off sick, but this was a big deal. Mrs. H even gave him an introduction, as if he was a guest on Wogan or something.

So we're all sat cross-legged on the floor, the smell of sweat and wet mud is in the air and there's a sticky mess near the stage area - it's possibly a spilt can of Shandy Bass, but it could be a Top Deck Lager & Lime. Soon, the unmistakable sound is heard from the back entrance - "skiddly bip, skiddly bip, skiddly bip" - but faster this time. Mr. S is a man on a mission. He's even changed his T-shirt. This time, tennis is life and there's a big yellow ball on the back to prove it. Without any fussing around, he gets straight down to business.

"I've received some complaints from SL that some of you boys - not mentioning any names Woody, Gouldy, Lewis you pecker-head - are coming straight to assembly from the field without wiping your bloody feet!"

Mrs. H winced. Swearing was a pet hate and I hadn't seen her look like that since I lent her my copy of The Beautiful South's Miaow containing an uncensored version of Hidden Jukebox. Undeterred, Mr. S continued.

"So, I'm telling you all now, I will not tolerate shitty shoes in this building anymore!"

"Oh! Mr. S!" cried Mrs H, clearly in distress.

"I'm sorry Mrs. H," he replied. "But this has to be said. There will be no more SHITTY SHOES in here from now on!"

"Oh! Please, Mr. S! Nobody wants this!"

"Mrs. H, shitty shoes are a serious matter and I've had enough!"

Mrs. H couldn't take any more. Bringing the assembly to an abrupt end, she escorted Mr. S from the building. He continued mumbling about "shitty shoes", but he was soon drowned out by Mrs. C playing an impromptu, over-zealous version of Onward Christian Soldiers. His speech did the trick though, there were no further dirty protests in the youth centre from that moment on.



Sports-wise, that was the end of my association with the P.E. department. Unless you count pretending to die when Mr. G fired the starting pistol at Sports Day, or when I persuaded PL to do his impression of Mr. K, a student teacher with no sense of humour who marched straight over to us and said, "Oi, fatties, you make fun of me and I'll make fun of you."

It wasn't the end of memorable assemblies, though. Before the new school buildings were officially opened, we had one final session in the youth centre. It was led by Mr. L, one of the deputy heads and a History teacher - a short, chubby man with a lisp who liked nothing more than a good chat. He reminded me of Benny The Ball from Top Cat. On this particular afternoon, he came strolling down to the front of the room with a big grin on his face and an even bigger pair of scissors in his hand.



"Good afternoon, clath" he said.

See, I told you he had a lisp.

"Thith afternoon, I would like to teach you about the importanth of thaying thank you."

Are you following so far? Good.

"Now, everytime I thay thank you, I'm going to cut off a pieth of my tie."

There was a reason for this at the time, but for the life of me I can't remember it at all. But basically, if you don't say thank you, you're likely to end up with a really big tie. Or something like that.

"In Thpain, they thay 'Muchoth Grathiath'" he continued, and snipped an inch off his tie.

"In Waleth, we thay 'Diolch.'"

Off went another inch.

"In Italy, they thay 'Grat-thi"

Soon, he was down to his final inch. It was surely over, wasn't it?

"In Jamaica, they thay...ha,ha,ha....'Grat-thi Mon'"

He stood there looking pleased with himself, wearing nothing more than a knot. Well, a shirt and trousers too, obviously. That would just be wrong, otherwise.

"Tho you thee, make thure you alwayth thay thank you."

Then he walked off, leaving Mrs. L - a large woman who once had a boy suspended because he opened both double doors for her as she came down the corridor - to pick up the pieces of his tie. As she did so, she made a noise not unlike Muttley in Wacky Races. Something along the lines of "shnuffle, muffle, muffle." I got the impression that he did that particular assembly a lot.

Mr. L was typical of the History department. Mr. TH was like a cross between John Major and Mr. Bean, although I suppose there's not a lot of difference between the two really. He made us watch the final series of Blackadder at least once a term and detested the phrase "joy ride" because he had witnessed a car accident near his home and, as he told us on many an occasion, "it's no joy when your head is rolling down the road on a ride of its own." It didn't stop people winding him up by singing Roxette's Joy Ride though. Of course, I never stooped that low. I just found his number in the phone book one Saturday night, rang him up and played Radiohead's Creep down the line. Next History lesson, he took five minutes to complain about the "idiots in the world" who "take pleasure in abusing the luxury of telecommunications."

I sat next to TR in History and we would usually end up making each other laugh by doing impressions of various teachers. Mr. TH noticed our laughter and asked me to read a Siegfried Sassoon war poem out loud as punishment. The piece in question began with the line, "does it matter if you lose a leg?" For some reason, I decided to recite it in my best Mr. P voice. TR couldn't contain his laughter any longer and blurted out a giggle that set the rest of the class off. Mr. TH slammed down his book and shouted "the loss of legs, or indeed any limb, is no laughing matter!"

In an effort to make amends, TR and I offered to help him pack up his classroom when the school was demolished. He accepted our help and sent us off to find "one or two boxes." I take any mission seriously, so we headed off to the local Spar, Post Office and even Redlands News. We must have collected around twenty boxes in total and took great pleasure in stacking them up to the ceiling. Mr. TH entered the classroom, took one look at our work and shouted, "I don't want all these! I want them OUT!" Unfortunately for him, we had a lesson to attend so made a swift exit.



Mrs. LL was much more easy-going. During our first ever History lesson in Year Seven, she introduced herself by saying, "I'm Mrs. LL and I love the Tudor Period because there's lot's of juicy sex - but don't tell Mr. TH I said that!" Bearing in mind that she was in her sixties and a softly-spoken Welsh woman, this candid confession came as a bit of a shock to our eleven-year-old minds.

I regard it as both a blessing and a curse to have come into contact with so many unique personalites at a young age, but I wouldn't have had it any other way. I learnt more about people-watching and life's characters during my time at school than anything else, but had it not been for those valuable lessons, I wonder how else I would have coped with the Eghosas of the world later in life. For that I am grateful, although I'm not sure that's the lasting lesson they wanted me to take away after six years of school.

Tuesday, 3 March 2009

Reasons To Be Cheerful

I know it makes me sound as if I should be in an advert for Werther's Originals, but I don't mind admitting that there are many things about the modern world that annoy me greatly. I could probably fill a thousand blogs with rants about everything from geek chic to Dancing On Ice and the amount of times that Phillip Schofield mentions his Twitter account on This Morning. But what's the point? Sometimes it's too easy to get bogged down and depressed by it all. Instead, I like to remind myself of the good things in life. What better way to do that than with a mixtape, just like Select magazine used to do in the nineties. Except I can't find anywhere that sells C90s anymore, so it'll have to be an iTunes playlist.

Yes, without a hint of sarcasm or general piss-taking - this isn't ITV2 or E4, you know - I am proud to present a collection of songs full of genuine magical musical moments that can never fail to inspire, or at least bring on a big affectionate grin. It's a playlist that I like to call Now...I'm The Grandad. As with all good compilations, it's not available in any shops. But it should be.

Throughout this list I've included the song title, artist, an album that contains the track and a reason for its inclusion. Sometimes though, the lyrics just speak for themselves. Enjoy, and feel free to skip at any time. But I don't think you'll want to.

Wham Rap! (Enjoy What You Do) (Wham!/Fantastic/1983)

"I'm a soul boy/I'm a dole boy"

Junior's Wailing (Live) (Status Quo/Live!/1977)

"Is there anybody out there who wants to rock? Is there anybody out there who wants to roll? And is there anybody out there who wants to BOOGIE?! Tonight - LIVE - from the Apollo - Glasgow. We have the number one rock 'n' roll band in the land. Will you welcome - the magnificent - Status - QUO!" Jackie Lynton introduces the band before Francis Rossi greets the crowd with the most chilled-out "how are you, alright?" ever released on record, then gets straight down to business.

Time For Truth (The Jam/In The City/1977)

"Whatever happened to the great empire?/You bastards have turned it into manure"

Jump (Van Halen/1984/1984)

For many years, it has been impossible for me to watch the video for Jump without thinking that David Lee Roth looks like Steve McDonald from Coronation Street in a wig. This, plus the fact that it's Mark Webster's walk-on music and therefore conjures up memories of the Lakeside Darts, makes it an essential track.



Here I Go Again (Whitesnake/Saints & Sinners/1982)

Similarly, I've never been able to watch the video for this without thinking that David Coverdale looks like Frank Skinner in a wig.

Walls Come Tumbling Down (The Style Council/Our Favourite Shop/1985)

"And dangle jobs like the donkey's carrot"

Steppin' Out (Joe Jackson/Night And Day/1982)
5:15 (The Who/Quadrophenia/1973)


These two tracks go together because I can never hear one without thinking of the other. I used to have terrible insomnia when I was younger. In the days before you could switch on UK Gold at three in the morning and watch an episode of Keeping Up Appearances, I had few choices available to me while waiting for the morning light to arrive. Basically, I could either flick through an issue of Your Sinclair or switch on the radio. Unfortunately, even the radio stations weren't necessarily on a twenty-four service back then, but Radio 1 did at least provide some warm-up music before switching on properly at 5.30am, and this was a definite improvement on listening to Gyles Brandreth's Radio 2 trivia quiz. Amongst others, the songs played were abridged instrumental versions of Steppin' Out and 5:15. Laugh if you like, but I've only recently twigged the significance between the title of the latter and the time of the morning it was played. Ever since, the two songs have an added eerie, middle-of-the-night feel usually only experienced when watching Jeff Goldblum and Michelle Pfeiffer in Into The Night, the Ironside Hallowe'en special or the punk rock episode of Quincy.

Here Comes The Weekend (The Jam/This Is The Modern World/1977)

"If they tell you that you've got two days to live/then don't complain 'cos it's one more than you'd get in Zaire"

Charge (The Divine Comedy/Casanova/1996)

When we started dating, L and I found ourselves having sex to The Divine Comedy's Casanova album. I'm still not entirely sure how it happened, but there was obviously something about Neil Hannon's voice that got us right in the mood. Anyway, to cut a long, embarrassing story very short, the crucial moment arrived just as Neil yelled "Charge!" towards the end of the song and we've never been able to listen to it in quite the same way ever since.

The Girl Is Mine (Michael Jackson & Paul McCartney/Thriller/1982)

For the way in which Paul McCartney casually decides to call Michael Jackson "Mike", in that awkward, matey, thumbs-aloft manner that Macca has made his own over the years. Suddenly, Jackson isn't a pop superstar, he's a plumber from down the road who has just popped round to Paul's to give him a quote on that overflowing toilet cistern and to clear up that little misunderstanding about who'll be shagging the girl they both like. It's my boss at Redlands News all over again - so desperate to be down with the council estate kids that he started calling M "Steve", despite the fact that his name was, well, M.



Water (The Who/Who's Next (Re-Issue)/1971)

"And I'm sure there ain't one of us here who'd say "no" to somebody's daughter"

Good Thing Going (Sid Owen/Good Thing Going (single)/2000)

Sid "Ricky Butcher" Owen's criminally under-rated reggae cover version of Good Thing Going is one of the greatest soap-star-turned-pop-star moments in history. Even better than Stefan Dennis' Don't It Make You Feel Good and Life On The Street by Deuce & Sherrie Hewson put together. When Sid returned to Eastenders last year, there was a scene which involved Ricky telling Tiffany and Whitney that he was good friends with "the boys" from East 17. Seriously, I almost soiled myself at the prospect of him bursting into song and bogling around Albert Square. It never happened though, which was a shame.

Perfect 10 (The Beautiful South/Quench/1998)

"If he's extra large/That's me/Then I'm in charge"

Summer Nights (John Travolta & Olivia Newton-John/Grease OST/1978)

John Travolta's completely exaggerated "OH!" towards the end of this duet is so amazing and inspiring that I once disrupted a twentieth-anniversary screening of Grease by doing it on his behalf before he had the opportunity. The audience just presumed that Cardiff's Capital Odeon had installed a new 3D sound system and cheered loudly. It was a good day.

Rabbit (Chas & Dave/Greatest Hits/2005)

"Rabbit, Rabbit, Yap Yap, Jabber Jabber, Bunny, RABBIT!"

I Believe (Robson & Jerome/Robson & Jerome/1995)

Isn't Robson Green brilliant? He's an extreme fisherman, the king of ITV Christmas specials and has the best middle name ever (Golightly). However, his greatest achievement must surely be the triumphant way he delivers the "or touch a leaf" line in I Believe. It's done with such enthusiasm that you actually believe he's just walked outside and touched a leaf for the first time - "my God, a leaf!" Just don't get him started on new-born babies crying, glowing candles, drops of rain or, indeed, fish - you'll be there all day.



Bully Boy (Shed Seven/A Maximum High/1996)

Particularly the bit on the Shed Seven video compilation Stuffed, when the guy from the Bully Boy video comes running up to the screen shouting, "do you want some? I'm handy!"

The Living Years (Mike & The Mechanics/The Living Years/1988)

A great song made even better by the memory of Rolf Harris bursting into tears on TV-AM because it reminded him of his father. Mike Morris didn't know what to do with himself. It was a moving moment. They don't make songs like that anymore. Or breakfast television.

I Feel Love (Donna Summer/I Remember Yesterday/1977)
Baba O'Riley (The Who/Who's Next/1971)


Regular readers will know that I'm something of a sensitive soul, which may go some way to explaining why these two songs absolutely freak me out. It's something about the frequencies used in the electronic introductions I think, but whatever it is, I'm getting scared just thinking about them. Unfortunately, they're both great songs so it's not as if I can just erase them from my memory. Best follow them up with something impossibly cheerful, I think.

I Could Be So Good For You (Dennis Waterman/I Could Be So Good For You (single)/1980)

Ah, that's better.

Mince Showercap (Part 1) (Idlewild/A Film For The Future (single)/1998)

"Stop! Stop! I've got a recipe for hummus!"

Dyslexic Heart (Paul Westerberg/Singles OST/1992)

Picture the scene: It's 1993, I'm 13 and I've got a crush on an 18-year-old, Eddie Vedder-obsessed redhead. And I love redheads. Knowing that Pearl Jam appeared in the movie Singles and in need of a conversation starter, I marched up to the Penarth branch of Woolworths (R.I.P) and handed over fifteen quid for a just-released VHS copy of the film. It wasn't until I got outside that I realised the movie had a "15" certificate and - ha! - the sales assistant hadn't even asked for ID. Yes sir (or ma'am), I truly felt like a man! It didn't matter that the redhead still wasn't aware of my existence, I just went home and fell in love with the film (and Bridget Fonda) instead.

Don't Let The Sun Go Down On Me (George Michael & Elton John/Ladies & Gentlemen: The Best Of George Michael/1998)

"Ladies and gentlemen, Mr. Elton John!" Not only a great introduction, it also brings back memories of that episode of The Lookalikes Agency when Ray the Elton John lookalike battled his way through some really thick smoke to get to the stage.



Glamorous (Fergie/The Dutchess/2006)

I don't care if Fergie is actually saying "reminiscing about the days when I had a Mustang," it'll always be "moustache" to me.

You've Lost That Loving Feeling (Live On Pebble Mill At One) (Paul Shane/Unreleased, but recorded off the telly by holding a cassette recorder up to the speaker/1996)

"Baby, BABY!"

Alright (Cast/All Change/1995)

I got a lot of stick for liking Cast back in the day, but say what you like, John Power provided me with some great memories. He nodded at me when they supported The Beautiful South in Huddersfield, for God's sake. Nodded! However, it's Alright that brings back the nostalgia, thanks to a performance of the song at - I think - Glastonbury 1996 when John followed up the line "tell me what we came here for" with a brilliantly timed, heavily scouse-accented and completely deadpan, "Glaston-bury." I always add that little bit in my head whenever I hear it. See also: Rick Witter's ad-libbed grunt whenever Shed Seven did Chasing Rainbows live, or a moan of - possibly - pleasure from Martin Rossitter whenever Gene did Olympian. It's the little things that matter, isn't it?

Haunted By You (Live) (Gene/To See The Lights/1996)

"I feel like a returning football manager with the cup. Thank you."

Be The One (The Ting Tings/We Started Nothing/2008)

For the adorable way in which Katie White says "hey!" halfway through.

You Are My World (The Communards/Communards/1985)

The note that Jimmy Somerville hits, and maintains, towards the end of this song is absolutely incredible. Even by Jimmy's standards, it's amazingly high and long. And yes, I'm still talking about his singing.

You Surround Me (Erasure/Wild!/1989)

From one extreme to the other, Andy Bell's opening lyrics are so unexpectedly deep, it feels like he's trying to penetrate your skull. Play this side by side with The Communards and you'll feel thoroughly violated. In a good way.

Kimbaley (My Ma-Mama Say) (The London Boys/The Twelve Commandments Of Dance/1988)

I was a camp little boy, wasn't I? These days, you only hear African rhythms if you're watching Wild At Heart and Du Plessis has just fallen down a hole. Back in the eighties, The London Boys took those drums and infused them into a Eurodisco beat. I bloody loved that song, and the accompanying, brilliantly-titled album. R.I.P boys.

Margate (Chas & Dave/Greatest Hits/2005)

Apart from the fact that this song always reminds me of Only Fools & Horses and The Jolly Boys Outing, it's got a great bit of harmony in the chorus that is so nostalgic, it makes you want to pack a bucket and spade, hire a bus and head down to Margate. And I've never even been there! That's the power of Chas & Dave.



Deeply Dippy (Right Said Fred/Up/1992)

Notice how I tried to break up the campness with a manly, East End knees-up. It didn't work, did it? I love this song, particularly when the horns kick in and Richard Fairbrass does the "see those legs, man" ad-lib. I'm a sucker for a good ad-lib. That came out wrong, didn't it?

Girl On The Phone (The Jam/Setting Sons/1979)

"She knows where I get my trousers/where I get my socks/my leg measurement and the size of my cock"

Cheaper To Keep Her (The Blues Brothers/Blues Brothers 2000/1998)

I'm no Bobby Davro when it comes to impressions, but L says that when I sing the "if you decide to roam" bit of this song, it's like Dan Aykroyd is in the room. Or Morrissey. Either way, it's a result.

Ask (Live) (The Smiths/Rank/1988)

Speaking of Morrissey, he makes a lot of strange noises throughout the live Rank album. However, it's his introduction to Ask - what can only be described as an orgasmic grunt/yelp - that sits near the top of my personal list of Morrissey moments. It's only rivalled by his reply to a heckler at his Liverpool concert in 1999: "you wouldn't say that to Sir Harry Secombe!"

Dancing In The Street (Mick Jagger & David Bowie/Dancing In The Street (single)/1985)

One of the first singles I ever owned, along with Madonna's True Blue, I thought the video for this was the coolest thing ever made. I was only five, but I could fully appreciate the sight of two men standing back to back outside a deserted warehouse. I always wanted Bowie's white raincoat from the video. I never got it. The same thing happened with the white shoes that Shakin' Stevens wore on the cover on his 1984 Greatest Hits. Looking back, it was probably for the best.

Place Your Hands (Reef/Glow/1997)

Picture the scene: It's 1997, Friday night. I'm drunk on a packed bus from Cardiff to Penarth. In Grangetown, M starts singing Place Your Hands. For the next twenty minutes, I help him out with the "alright, now!" bits. For some reason I do this in a Jamaican accent. When we got off the bus at the Cefn Mably pub, the other passengers applauded. I've never been entirely sure whether this was out of enjoyment or relief, but at least it's better than the time I started taking my shirt off while singing You Sexy Thing after watching The Full Monty.

Informer (Snow/Twelve Inches Of Snow/1993)

"People dem say you come from Jamaica/but me born an' raised in the ghetto/me born in the one in Toronto"



AIDS Warning (Apache Indian/No Reservations/1993)

Seeing Mr. Apache performing this on the back of a jeep during the Apache Goes Indian series was one of the highlights of my teenage years. Certainly, it's up there with K7 performing Come Baby Come on The Word. It was like a cross between that bit in Good Morning Vietnam where Forest Whitaker drives Robin Williams around the town, and Status Quo's video for The Wanderer. Magical.

Mercy (Duffy/Rockferry/2008)

For the high-pitched squeak Duffy emits near the end of the track, which sounds like somebody has come up from behind and surprised her. Like Shaggy said, "it wasn't me."

The Boys Are Back In Town (Thin Lizzy/Jailbreak/1976)

For the way it reminds me of Oasis' Be Here Now tour in 1997 and, therefore, my first proper date with L. When the band walked on accompanied by the Thin Lizzy classic, the entire arena went ballistic. When they played Cigarettes & Alcohol and the crowd started jumping, you knew what Dan Aykroyd was talking about in Blues Brothers 2000 when he said; "you can never equal the rush you get when the band hits that groove." Except Blues Brothers 2000 hadn't been made in 1997. Oh well, you get the point.

Let's Get It On Tonight (MC Momo/Metropolis Street Racer OST/2000)

For a song written solely for inclusion on a video game soundtrack, it's a fine piece of craftsmanship. A Fresh Prince-style rap with the immortal lines; "the only thing that I could think about was expansion" and "that feels good/please continue"

I Wanna Sex You Up (Color Me Badd/CMD/1991)

Picture the scene: It's Christmas Day, I'm 11 and I'm watching Top Of The Pops. As Color Me Badd perform, my mother shouts from the kitchen; "oooh, you like this one! Why don't you perform it for your Auntie D?!" I accidentally stepped on the cat, it jumped up and dug its claws into my thigh, I knocked a cabinet over and nobody said a word during the turkey dinner. Not since I played the theme tune from Highway To Heaven on a Casio keyboard had I achieved such a reaction.

Come On Eileen (Dexys Midnight Runners/Too-Rye-Ay/1982)

How can you not include Dexys in a playlist? This will always remind me of my cousin N's wedding. Picture the scene: It's 1996, Penarth Conservative Club. I'm 16 and getting drunk in front of my mother for the first time. As I enter the gents - without my mother, I hasten to add - I hear my Uncle T responding to somebody's praise of the party: "yeah mate, too true, too FUCKING true!" I'm in so much shock at his candid reply, I ignore Auntie D telling me that she has requested some Quo and start having a conversation about the poetry of William Blake with my cousin T. The increasing tempo at the end of Come On Eileen did not help my state of mind.

Try A Little Tenderness (Otis Redding/Dictionary Of Soul/1966)

For the live version during the Stax-Volt tour of Europe in 1967 which saw Otis Redding return to the stage five times for increasingly energetic encores of this one song. It's worth the price of the DVD alone.

One Step Beyond (Madness/One Step Beyond.../1979)

You haven't lived until you've witnessed Darryl Fitton, Tony O'Shea and Brian "Pecker" Woods doing the nutty boys dance at the end of a darts championship. If I could only see one moving image for the rest of my life, that would be it. Failing that, it would have to be something involving Suranne Jones' breasts. Preferably to a Madness soundtrack. As Paul Weller once said, "yes, I think I would like that."



Carnation (The Jam/The Gift/1982)

For the best bassline that Bruce Foxton has ever played.

Ol' Rag Blues (Status Quo/Back To Back/1983)

Well, I had to finish with the Quo, didn't I? I could probably write an entire blog cataloguing the manly moments in Alan Lancaster's life, but if I had to choose just one, it would be the video for Ol' Rag Blues. Manly Al just looks so happy to be there, surrounded by sweaty men assembling scaffolding and two busty beauties. Wham, Bam, I am a man! And with that said, we've come full circle.

Don't you feel better about the world now?